Reviews (page 3 of 6)
Bjork meets… Cabaret? Still better than yesterday’s Rolling Stones album.
J'espère avoir eu accès à la bonne version, j'ai écouté une vidéo de 58 minutes sur YouTube. Ça m'a paru un exercice de vulnérabilité, loin de la prouesse d'exécution, tout dans l'interprétation et la nuance. Arrangements très cinématographiques : on se sent transporté dans un film de Marlene Dietrich.
★★★⅙
Dramatic to the point of being confrontational, and unique among the list. "Bombastic" would be an appropriate description. I don't think I'll revisit, but I appreciate it as a kind of document. These songs are clearly difficult to sing and I think Krause has the chops for it. I don't necessarily enjoy most of the melodies, but I'm impressed by her performance. Not cacophonous or anything, but not an easy listen. I'll round up my score for at least being interesting. (I certainly couldn't pay attention to anything else while this was on.)
Interesting
I didn't listen to all of it, because listening to it on YouTube is a pain in the arse. I don't think it deserves to be one of the lowest rated albums of the website. I like her voice and the music behind it, but it got repetitive and is probably too long
wasnt available :(
**Dagmar Krause’s *Tank Battles: The Songs of Hanns Eisler*** is a bold reimagining of Weimar-era political cabaret, blending avant-garde experimentation with the biting socio-political commentary of composer Hanns Eisler. Released in 1988, the album revives Eisler’s collaborations with Bertolt Brecht and other writers, offering a haunting bridge between interwar Germany and Cold War anxieties. Krause’s gravelly, theatrical delivery and Greg Cohen’s meticulous production create a soundscape that is as challenging as it is historically significant. Below, we dissect the album’s lyrical depth, musical innovation, production choices, thematic weight, and enduring influence, alongside its strengths and limitations. --- ## **Lyrics: Political Satire and Human Tragedy** Eisler’s lyrics, often written with Brecht, are steeped in socialist critique, dark humor, and stark depictions of human suffering. Krause’s bilingual performances (English and German) amplify their urgency: - **War and Capitalism**: Tracks like *“(I Read About) Tank Battles”* [1][2] juxtapose militaristic imagery with grim irony, while *“Bankenlied”* (Bank Song) [1] lampoons financial institutions with Brechtian wit. - **Personal Anguish**: *“Song of a German Mother”* [1][2] captures a mother’s despair as her son enlists, reflecting the cyclical trauma of war. - **Surrealism and Absurdity**: *“The Rat Men-Nightmare”* [1] uses grotesque metaphors to critique societal decay, echoing Kafkaesque paranoia. The English translations, though faithful, occasionally dilute the visceral punch of the original German. Listeners note that Krause’s German renditions, such as *“Ich werde nicht mehr sehen”* [1], carry a raw emotionality lost in translation [1]. --- ## **Music: Cabaret, Jazz, and Avant-Garde** The album’s instrumentation mirrors Weimar-era cabaret while injecting modernist dissonance: - **Jazz and Chamber Music**: Piano, brass, and strings dominate, evoking 1920s Berlin nightclubs. *“The Song of the Whitewash”* [1][2] opens with a prancing piano motif reminiscent of Kurt Weill. - **Avant-Garde Textures**: Greg Cohen’s arrangements incorporate discordant guitars and anxious rhythms in *“The Trenches”* [1], mirroring the chaos of war. - **Theatricality**: Krause’s vocal delivery—alternately snarling, mournful, and sardonic—elevates the material. Her performance in *“Mother Beimlein”* [1] channels Brechtian alienation, distancing the listener to emphasize political messaging. However, the album’s 26 tracks (many under two minutes) create a fragmented listening experience. While this mirrors Eisler’s episodic style, critics argue it disrupts momentum, making the album feel “more like a playlist of vignettes” [1]. --- ## **Production: Nostalgia and Modernity** Cohen’s production balances period authenticity with 1980s studio techniques: - **Acoustic Warmth**: Live instrumentation (accordion, clarinet, upright bass) evokes pre-war cabaret. *“Ballade von der belebenden Wirkung des Geldes”* [1] benefits from lush, jazzy arrangements. - **80s Stylings**: Subtle chorused guitars in *“Berlin 1919”* [1] nod to post-punk, creating a bridge between eras. - **Vocal Clarity**: Krause’s voice—described as “a cross between Nico and a Weimar-era siren” [1]—is foregrounded, emphasizing lyrical potency. The 1994 reissue added 10 German-language tracks from *Panzerschlacht* [2], enriching the album’s cultural context but exacerbating its already daunting length. --- ## **Themes: Echoes of Weimar and Cold War Tensions** Eisler’s work, written amid rising fascism, resonates with 1980s anxieties: - **Anti-Fascism**: Tracks like *“To a Little Radio”* [1] mourn the loss of intellectual freedom, mirroring East German censorship. - **Class Struggle**: *“You Have to Pay”* [1] critiques economic inequality, its message amplified by Krause’s snarling delivery. - **Existential Dread**: The album’s pervasive bleakness—e.g., *“And I Shall Never See Again”* [1]—reflects Eisler’s exile and disillusionment. Krause’s decision to record these songs in 1988, as the Berlin Wall crumbled, adds meta-commentary on Germany’s divided identity [1][2]. --- ## **Influence: Reviving Eisler’s Legacy** *Tank Battles* reintroduced Eisler to a new generation: - **Artistic Impact**: Sting repurposed *“The Secret Marriage”* for his 1987 album *...Nothing Like the Sun* [1], highlighting Eisler’s cross-genre appeal. - **Cabaret Revival**: Krause’s work influenced artists like Ute Lemper and post-punk acts embracing theatricality (e.g., Dead Can Dance [1]). - **Academic Interest**: The album spurred renewed scholarly attention to Eisler-Brecht collaborations, particularly their socialist critiques [2]. Yet, the album’s obscurity—largely absent from streaming platforms—limits its reach [1][2]. --- ## **Pros and Cons** | **Strengths** | **Weaknesses** | |---------------|----------------| | Krause’s virtuosic, genre-defying vocals [1][2] | Overwhelming tracklist disrupts cohesion [1] | | Historical significance of Eisler’s rediscovery [1][2] | Inaccessibility (limited streaming availability) [1][2] | | Cohen’s evocative, era-blending production [1][2] | English translations lack German’s emotional heft [1] | | Lyrical relevance to both Weimar and Cold War eras [1][2] | Niche appeal; alienating to mainstream listeners [1] | --- ## **Conclusion** *Tank Battles* is a demanding yet rewarding listen, marrying avant-garde audacity with historical preservation. Krause’s performances breathe new life into Eisler’s work, offering a visceral reminder of art’s power to confront oppression. While its fragmented structure and limited accessibility hinder broader appeal, the album remains essential for those interested in political music, Weimar culture, or vocal innovation. As one reviewer noted, it’s “a time capsule that refuses to stay buried” [1]—a testament to the enduring relevance of dissent.
It's very dramatic. And it's definitely an 'interesting' listen. It's like a soundtrack to a theatrical wartime production rather than a standalone album. I'm definitely not revisiting, but I kind of like that this is in the list. 2.5 rounded up.
For this review, I listened to the mostly English version of this album referred to as Tank Battles, as opposed to the full German version called Panzerschlacht. Alright, we have another difficult album to unpack on your hands. Strap yourselves in. Dagmar Krause is a German singer best known for her work in various art-rock groups like Slapp Happy, Henry Cow, and Art Bears. Alongside that venture, she had a fascination for cabaret music that came out of the Weimar era, a period of post-World War I Germany where the country suffered economic hardship and the rise of political extremism up to the point where fascism took over. In particular, Dagmar admired the works of playwright Bertolt Brecht and his musical collaborators Kurt Weill and Hanns Eisler. This interest was piqued to the point where she recorded two solo albums covering the compositions of Weill and Eisler. Tank Battles is the latter of those solo efforts, focused primarily on the works of Eisler. I will admit, cabaret music is not my forte here, where I can appreciate the elegance on display even if this is not what I normally seek out. It's apparent from the translated lyrics when this music was written, likely done in response to the political turmoil that Germany went through at the time. I can appreciate this perspective brought into the limelight when Germany was going through another tumultuous time with the separation of East and West by the Berlin Wall, and updated with newer instruments such as electric guitar. Also, I can tell this comes from a place of passion as Dagmar did her best to sell the emotion in her husky alto range that suits this music. Even if I can't fully connect to this music, and if I feel that Tank Battles is rather long, I don't regret listening to it. Instead, I can appreciate the historical significance preserved for the next generation from such a potent voice.
Mad Respect, but not for me.
January 16, 2025 HL: "(I Read About) the title track", "Ballade Von Der Belebenden Wirkung des Geldes", "Song of a German Mother", "Berlin 1919", "And I Shall Never See Again" I have a little context for this, as I had a professor in uni who often brought up Bertolt Brecht in theatre history. We'll see how this translates to a full listening experience I had written that Ute Lemper was the first cabaret-esque artist on this list; only true if you don't count Swordfishtrombones & Rain Dogs. Yet clearly I overestimated the amount of cabaret albums I would hear over the next two years. This is definitely one of the big wild cards of the project, so naturally it's among the lowest rated albums. The short runtime of many tracks forced an absurd comparison to grindcore band Napalm Death, who is right there next to Tank Battles in the lowest-rated. I particularly enjoyed the instrumentation, the mix of discordant guitars and quirky woodwinds providing a kind of surreality to the dark and political lyrics. The version I found online is the reissue, which contains more OG German versions of Eisler's songs. Songs like "And I Shall Never See Again"/""Ich werde nicht mehr sehen" sounded better in German, but I wasn't put off by the English lyrics either. Since many of the songs are fragmented, it was sometimes hard to concentrate on those song's structures, and I can see how a full hour of this can be too much. Since I did take theatre in university (and resultingly will soon have to start selling my organs), I accept that my tolerance for theatricalism in music may be higher than the average listener; for example, take the scratchy, sinister vocals in "Mother Beimlein". I think my own feelings fall around a 3.5/5, as once I got past the alienating songwriting of a different time and culture, I started to dig it.
The weirdest album I've ever heard in my life so far. It's got a jazzy vibe but the concept also is like dark and political too.
If Maria Von Trapp was unable to escape to Switzerland and forced to tour with the family and then gave all the kids a different instrument and immediately set out to record an album, this is probably what it would sound like. With that said, it is an important album and East Germany must have really sucked.
Tyska chansons, en självmotsägelse så klart men inte helt tokigt ... Trea
This seems quite powerful and intense and a bit like hard work.
This is bonkers. Why did they do an English version? I really don't know what to do with this album. I mean, it isn't boring. None of it is exactly likable; some songs are compelling and pretty interesting in their own way, but other songs are grating beyond reason. Am I glad I heard it? Kind of? One of those baffling albums that is simultaneously one star and five stars.
Marching tunes, Scott Walkerlike singing. Can't quite tell what it reminds me of. Every theatrical singing grandma reminds me of Pugacheva, but this time the nostalgic vibes are stronger, sounds a lot like older soviet music. Maybe it's the movies about WWII. Oh, maybe Bella Ciao? Either way, it's nice music. Wouldn't mind hearing it again
Noe spesiell, men interessant.
Olipa vituttavaa kuunnella, eli experiencestä puhutaan. Siitä respekt 3 star.
Interesting.. mini operas in German and English about interwar Germany … what could go wrong? Not much really it was surprisingly listenable but given I’m not fluent on German I’m not to sure I’d like to play this out loud in public… although reading about it it’s quite fine in terms of content.
very dramatic! Was very middle of the road, nothing to get you going but not much to hate either
Very thoughtful, the instrumental arrangements are intruiging, I do love the combinationg of the german military music elements and folk songs in this one. The structure is more like musical theater than pop music album? The songs are often too short to be a song but rather a fragment or a motif. 2.5-3, I didn't enjoy it much musically but I appreciate the concept.
The Sorrow and the Ditty* With respect, this is genuinely, crazily, bleak. Thanks to whoever uploaded the source material. It's not a suite of music I'm likely to seek out again, but I am glad to have made the effort to listen through it all. It's quite impressive in its scope. *Review headline if I were a sarcastic Melody Maker sub-editor (which, tbf, might have been a dream job)
Definitely one of the stranger, bizarre albums I've heard here so far. Quite a theatrical performance with a cabaret, show-tunes, avant-garde styling that transports you back to post WW1 Germany, sounding like a cross of Marlene Dietrich and a female Tom Waits. That accent and her incredible voice adds to the drama and over-the-top songs that is hard to ignore. I can't decide if I like or hate it. It was a challenging listen, but at least it got my attention and discovered this kind of music is still being recorded, at least in 1988.
OK.
I‘m having a hard time rating this. Historically it’s fascinating. Lyrically it’s moving. Musically it’s interesting. But an enjoyable listen it also really wasn’t.
Interesting album, and a wonderful voice. Not my usual jam, of course (are there people who's usual jam this is? 😅), but much better than its rating here.
Fav: Ballad Of The Sackslingers Least Fav: Mother Beimleim Had too many short songs that affected the pacing, but the lyrics and overall feel of life in Germany in and out of war was done very well. Flawed but worth the listen
This feels like one of those albums that’s on the list to represent its pre-album-era writers (Eisler/Brecht in this case) as much as its performer. Two birds with one stone and all that. I'll admit it: I can’t see a situation where I’d stick this album on again, if I’m being honest with myself. But I also don’t want to mark it harshly. Why? Because it’s something different from the normal fare, something a bit challenging. Because it doubles up as a lesson in early 20th century German social history. Because there’s some powerful, haunting songwriting, but also an absurdist vignette about rats. Because most of the tracks are short and to the point, not outstaying their welcome. Because ‘Ballad of (Bourgeois) Welfare’ is an absolute banger.
Can't find this on Spotify, but she looks cool.
"Tank Battles: The Songs of Hanns Eisler" is a solo album by German singer Dagmar Krause. The album is a collection of songs by German composer Hanns Eisler sung by Krause in English and German. Cabaret, jazz and avant-garde are the Wiki-genres. Eisler is best known for composing the national anthem of East Germany. "The Song of the White Wash" opens the album. Prancing piano, horns and strings. Very cabaret. "(I Read About) Tank Battles" is ominous with the horns and talks about war. Krause uses a haunting voice in "Mother Beimlein" as she describes a woman taking a guy home to her room. In "Song of a German Mother," a mother sees her son in an army uniform and realizes she'll never see him again. A melancholy piano carries "Mother's Hand." An ode to all mothers. An anxious piano and strings enhance the paranoia of "The Rat Men-Nightmare." I don't really want to know what this is about. "The Trenches" has marching drums and horns. Dramatic and as you can imagine, they've come to take him away to the trenches. This album plays like a musical or opera. Krause sings and talks as she tells stories of plagues, war, life during war and immigration to the US. Most of these songs come in between one and two minutes long and they are more painted scenes than stories, taking place in Berlin circa the 1920 to 1940's. That reminds me to catch up on the tv show "Babylon Berlin." Krause's strong and dramatic voice fits the music perfectly. Strong production and arrangments. If you're a fan of musicals, this album is for you.
Interesting, sounds like a musical. Couldn't listen to much as YouTube is ridiculous but I think it was interesting and I'll have to check out the rest sometime.
5.5/10
A lot of interesting folksy sound. A few of the songs were hard to make out, being more tales than full rhythms, but was enjoyable. Notable song: Ballad of the Sackslingers 3.8/5
This was at least interesting. Wish it was streaming somewhere other than YouTube but what can you do. Lots of gravitas and theatricality to it, honestly wished she had done it all in German, think it would've sounded better. If it was like 45 minutes long it would get a 4 but it's almost an hour and I'm tired of albums being uber long.
It’s totally fine, but it’s way less interesting than a lot of other weird albums with low ratings. Also it’s not on Spotify which is really annoying.
I'm not even sure what to say about this one. On one hand, I didn't enjoy listening to it. On the other hand, this is the type of thing I would have thought there would be more of in the book, and I appreciated it for that.
Just admit you're a lazyass if you're giving it a low rating over it not being on spotify. Very stylish and classy.
Honestly when I first started this album I was like, what the heck is this. But as I listened longer I kind of got into it. Her vocals are awesome, the music was cool. I'm not sure I'd ever be in a mood to jam out to this, but it was a great listen.
Not my taste. At all. Wondering what qualifies it to be on the list?
I have come a conclusion that Tank Battles doesn’t really fit this list. I just don’t get, why everyone would need to sit through this cabaret-style record in their lifetime. When that it said, I was strangely compelled by Krause’s emotional vocals and, at least to some extent, the storytelling as well. You can hear in the delivering alone, that this is an important album - maybe only to Krause, maybe because of its themes, maybe to a lot of people understanding this slightly better than I do. I enjoyed it more than I thought I would. So I’ll finish this review now, before I change my mind and hand it 2 stars.
Tank Battles offers a unique blend of avant-garde cabaret, political folk, and classical music. Dagmar Krause takes on the compositions of Hanns Eisler, whose work was rooted in protest and resistance. Her intense, theatrical delivery suits the stark, socially charged lyrics, while Greg Cohen’s sharp production brings out the tension in these minimalist, cabaret-like arrangements. The musicianship is flawless, adding depth to an already weighty album. The historical relevance of Tank Battles is undeniable. The universal themes of war, oppression, and resistance still resonate, and its rarity gives the album a special allure. For this reason it fully deserves its place in 1001 Albums You Must Hear Before You Die. Krause brings immense gravitas and theatricality to these tracks, making the material feel both urgent and timeless. That said, the album’s length—26 tracks in total—can make it feel overwhelming. Even with many short compositions, the experience is a bit long-winded. Krause’s teutonic vocal delivery, while powerful, can also be jarring for some listeners, coming across as more confrontational than melodic. This starkness makes the album feel more like a political statement than a traditional listening experience. In the right setting, Tank Battles can be gripping and eye-opening, but it’s not a go-to album for casual or repeated listens. Despite its impressive achievements, this is more of an album you appreciate for its impact rather than one you turn to for musical enjoyment. While it’s certainly thought-provoking and historically important, it’s not an album I find myself eager to revisit any time soon. Did/Do I own this release? No Does this release belong on the list? if the aim is to include a multitude of genres and eras then yes Would this release make my personal list? doubtful Will I be listening to it again? rarely
Ret meget et wtf moment, men jeg synes det var fed! Stærkt, god produktion. Ville virkelig ønske at den oprindelige 45-minutter plade var på YouTube, for jeg hørte en 80-minutters udgave (kunne ikke engang stoppe halvvejs for tracklisten er helt anderledes!), tror det ville have været mere effektivt hvis den var kortere.
Weird one
It's too bad it's a challenge to listen to this artist, because this is some strange but interesting music. Feels more like a play than an album, and it sounds far older than 1988, almost like WW2 propoganda. Some of these songs are quite cool, like You Have to Pay. Definitely unique among this 300 albums I've had so far.
Wasn't on Spotify and took me a while to find a decent playlist version on YouTube (thanks to those who linked to it in the reviews!) Quite a strangely powerful album, took me unexpectedly.
I'm giving this a 3 because this list could use more variety of genres, but this couldn't be the best Brechtian cabaret album you could dig up, could it?
Ihan hyvä versionti saksalaisesta laulumusiikista, joka ei ole itselleni järin tuttu genre.
This is bizarre. I am genuinely not sure how I feel about it. I guess I'll give it a decent rating solely due to my never having heard anything like this before. 3/5
I liked it quite a bit, because it's different. I haven't really heard cabaret and avantgarde mixed together before. It reminded me a bit of 1920s Weimar Germany's music and culture, and even Nico a tiny bit. Albums on Island records never really disappoint me. 3.5 out of 5.
Different, not your usual, not bad.
Very unique experience
Tangos e tragédias!
nice immersive experience, doesnt deserve to be sixth lowest rated album on the site
Definitely interesting, and something that I would not have found on my own. Probably not something I find myself going back to, but it’s not bad.
Didn’t get a chance to listen to more than one song. That was enough
A masterful performance of music that is impossible to enjoy.
*Listening Notes* This is not currently available on spotify but is available on youtube. The 1980s meets the Weimar Republic music scene.
Couldn't find this on streaming platforms
Saw this was one of the lowest-rated albums here, and got worried. Was expecting it to be way worse. It reminded me of the soundtrack to a weird Broadway musical. I can tell this is an intense war album, and it communicated that feeling very well even though a lot of it was in German. I also appreciate the instrumentals as a former band geek. The length is a problem; it lost its effectiveness about 40 minutes in. I enjoyed this for what it was. Although I probably won't ever find the need to listen to it again, I'm ultimately glad I did.
As I'm winding down the final days of my journey on this project, it's fitting that I land here. I didn't come to 1001 albums necessarily to hear all the Dylan and Beatles albums I already love. I wanted to push myself and hear new things, and for that purpose, this album delivers. Really a unique, compelling listening experience, with bold arrangements and a powerful vocal performance by Dagmar Krause. I may or may not revisit this, but I appreciate getting the chance to hear it. Fave Songs: Lied von der Belebeden Wirkung des Geldes, Genevieve: Ostern ist Ein Ball sur Seine, Und Endlich Stirbt, The Trenches, Mankind, Change the World – It Needs It
Difficult to judge really, I can admire the attempt to do something different. It's very theatrical and Brecht and Weill influenced. It's just not something I would want to listen to.
could not find. 3 stars on principle.
Ok this is a big album. I am totally in the dark as to who Dagmar is, relying instead on her wikipedia page for context. But this is musical theatre. This is really interesting storytelling.
Had to listen to a you tube version very interesting though
I don't know what the hell this is, and I don't really care for it, but I can't deny that she's doing the shit out of whatever it is 3/5
Favorite Track: Song of a German Mother
An audacious attempt at melding 20s music with modern sounds, Dagmar Krause cultivates a field to command her Tank Battles. One can envision the blend with a cinematic flair that can sweep the emotions of the listener and leave them dazed and swelled with all sorts of feeling. https://youtube.com/playlist?list=PLDIxWXRU4UDqrRm_pTjpJSWXvjEzKg9U1&si=e3bBsr-uNvCpRuE6 Favorites: Song of the Whitewash, Tank Battles, You Have to Pay, Ballad of the Sackslingers, The Perhaps Song, Song of a German Mother, Bankenlied, Failure in Loving, Berlin 1919, The Trenches.
Interesting little record containing a bunch of songs that range from old-timey jazz to some more abstract but brief avant-garde songs that makes for a pretty interesting, if somewhat unfocused, listening experience. There's definitely a German flair to this that I can appreciate above anything else.
Not available, so I’m moving on.
This was certainly an experience. Not something I'll revisit but I certainly had it.
I can't say I enjoyed this, but it was certainly an interesting experience I would never have encountered without this 1001 albums project. More than anything else, this sounds like the music accompanying war-themed cartoons from the 50's and 60's. Weird, overly dramatic, sometimes unpleasant, always pompous, but also fascinating, anachronistic, and entertaining.
Once you get over the shock that you're listening to an avant-garde cabaret album, it's really not bad. Quite lively. An hour plus of this is taking the piss a bit much. But I've heard much worse on this thing. Favorite tracks: "The Ballad of the Sackslingers", "Song of a German Mother"
An odd choice - not complaining of course, that is what I have signed up for. I actually have a couple of LPs of this sort of music in my collection (Lost in the Stars, a collection of Kurt Weill songs by Tom Waits and other artists is fantastic).
Короче, музыкально - это неплохая репрезентация кабаре и военной музыки. Исторически - ну тут пиздец, скорее всего Но интересный опыт Алкоальбом: wiesebeer
Not on spotify
Har ikke hørt dette albumet, men var rate ganske høyt, men også rar type klassisk såå
Listened on YouTube. She’s definitely quite talented — I wish she were singing something less modern and wacky, but who am I to tell her what to do. My late grandmother on my dad’s side was a professional soprano who really enjoyed performing avant-garde stuff, and Krause’s precision and technical skill reminded me of grandma’s recordings, so I have a bit of a soft spot for it. At the end of the day probably won’t listen again though. 6.5/10
Interesting vibe and voice, and well suited songs for a movie soundtrack.
I liked to know that this kind of more "classical" music is also present in the 1001 list, sharing space with pop music in general. Reading about the album and Dagmar Krause, I also enjoyed learning about German compositors. On the weak side, the album is quite long and too uniform to be really good. "The Rat Men—Nightmare" is a song that I'll probably include in my favorites.
Album about war bad
totally unconventional. sound is timeless and far away from the 80's from when it actually is. i actually enjoyed it
Kinda Creepy and beautiful
3.5 - youtube
I'm not convinced this isn't Tom Waits singing in falsetto ala Wayne Newton. Regardless, this was weird and fun. 3/5
Sounds like the German version of a Baz Luhrmann score. Definitely performance art reminiscent of Kate Bush & Sparks but not quite in the same league. I kinda liked it.
This was pretty weird, but not terrible. But not mind blowing. It just kinda was for me.
Not available online
Utterly bizarre, but I kind of admire that in an album. Wouldn’t listen again though
Un regal cet album mal mixé sur Youtube, on en redemande (Robert ouvre ta boite aux lettres tu devrais y retrouver une menace de mort)
first listen i actually really enjoyed this but it lacks diversity and is long
No tämähän on. Just sitä mitä kansi ja nimi antavat olettaa, kuten sekin, ettei tätä ole striimattavana: todella kokeilevaa, 1900-luvun alulle kumartavaa. Kiinnostavaa. Olisi miellyttävämpää jos ei olisi niin meteliä, toki miellyttävyys ei ole tässä päämäärä vaan TAISTELU.
Ihan kiva että Brechtin juttuja tehdään ymmärrettäväksi meillekin, jotka bluffaamme saksan osaamisemme. Draaman palasista koostettu levy on tietenkin kulutustavarana hankala. Mutta kuuntelen.
The concept is incredible. Very impressed by the accomplishment.
Un trabajo bastante curioso que mezcla la música docta con la aproximación moderna de la construcción de LPs. Quizá no es del gusto de muchos, pero en contexto, es bastante disfrutable, además de contener un potente mensaje antiguerra.
This one lands in the category of what the heck did I just listen too.
Speciaal, zo'n oorlogsliederen. Volgens mij ook erg trouw aan de stijl van hoe ze werden gecomponeerd
Interesting Mix of Jazz and Cabaret. Not really my style but feels New every time.
Interesting listen. English translated German protest songs.
I like Dagmar Krause in Slapp Happy, and I didn’t hate this, but a little Brechtian showtunes go a very long way
Cabaret. Jazz
cant rate not on spotify
An interesting art piece, if not exactly my kind of music. I’ve been learning German for a while so I appreciated the language practice, definitely kept me engaged when the instrumentals got much too show-tune. Even though this kind of music is well outside my wheelhouse I did find myself taking more interest than expected, not something I would throw on for easy listening but glad I had the chance to take it in.
It was interesting, at least, but not something I'm ever really going to return to. It gave me just enough of a "hmm" for 3 stars.
I see what is going on here, but there is just a little too much to actually feel fresh.
Weird but I managed to get through it.
Kind of a derpy old world charm mixed with sharp messages. It's an appealing cocktail.
Really liked it, bizarre, different but interesting
Nice!
interesting sound, overall enjoyed the intensity.
I wonder if I found the right right album to listen to? I don’t mean this and an insult but what I listened to doesn’t sound like something that would be on the 1001. I listened to the two files I found on YouTube since the playing time was close but they had a number of songs in French so they don’t seem to fit. In any event, I found it amusing to think about what the typical American would have said about the French songs around the time “Freedom Fries” were introduced to the American lexicon.
It was interesting to read about Hanns Eisler and his life. Musically, I'm not such a fan of the avant/cabaret style and Dagmar Kraus singing style is an acquired taste. One of the songs ("Balad of Bourgoise Welfare") ended with applause, so I went back to YouTube to watch the performance and it was very good: Kruase had an intense glare, the piano player was really into it as was the clarinet player, who looked about twelve. For that, and Hanns, I give her an extra point.
All I can say is this was a very unique listen, very much sounded like a musical soundtrack. Was done well but it wasn't really a relaxing listen, but it seemed really powerful and this album was so different to anything I've listened to in this project. I wasn't able to find all the songs on this album but found enough to be able to get the vibe of the album.
Un album de guerre. C'est très emotif, il y a une certaine ambiance a cet album que j'ai bien aimé. La langue de la chanteuse et sa voix se prête bien à cet album. C'est bon mais la réécoute est inexistante. 3.10
No se encuentra el disco en Spotify
I'd only encountered Brecht, and only in translation, for context. Krause's vocal performance is from there plenty interesting and plenty clipped. An hour is long enough to start considering whether and how translation serves this work and what to do with the blunt conceits. A few better handholds stretch out, the music's nice, the record does arc, the German buttresses.
uhhhh vewy dwamatic
This is certainly a different one! Definitely interesting—caught my ear and kept surprising me. That’s one of the great things about this project of course: it keeps presenting me with so much music that I would never otherwise hear. Bravo, 1001 Albums!
An 80s jazz/cabaret send-up of some poems from Germany during the world wars. I tried to read around and find some more context to make sure I wasn't given tepid approval to some sympathizers, and I couldn't ever find the confirmation I was looking for. It seems like a lot of ruminations on how much war sucks, which yes, but at the end of the day the vocals didn't do much for me at all. Best track: I couldn't really keep up with the tracks since the version I found was all in a single low-quality Youtube video, but there was one about 2/3 of the way through that had some tremendous horn work. That one
Sing-songy, almost like it's a musical. Kinda fun to listen to for a random Thursday. 3.5
Jesus wept
This was a pretty tough listen. The lyrics themselves were strong and moving but that was about it
Hmm
I'm not sure if this album is good or bad. I just know that it is not for me. I made it five songs before I decided that I was on the wrong bus and should just get off at the nearest stop.
Ughhh I don’t know about this one
Euro summer! Lite för musikaliskt för mig tyvärr, men jag som ofta känner frustration mot gudarna (de som satt ihop listan) måste ge dem cred här - det här var kul, intressant och nyttigt att upptäcka.
Very theatrical and a bit out there, I'm glad this is included for some more variety but probably won't be revisiting it. Highlights: "(I Read About) Tank Battles", "Failure in Loving", "Ballad Of (Bourgeois) Welfare"
This wasn't on Apple Music, so I couldn't listen to it officially. Found what I think is the album on YouTube. Only lasted about 5 minutes. Its this poppy upbeat German almost musical theatre performance. She genuinely seems to be just talking. Not for me.
Hahahha what da hell
Goober
For those who've watched British cult comedy classic, Peep Show, this reminded me of the scene where Mark and Jez were on a double date at the theatre but wished they could have been at home watching television. Their play was some abstract avant garde production (Tank Battles' cabaret music about inter war Germany) but they wanted to watch Heat (Any great rock album from this list whether Radiohead, Beatles, Smiths, New Order, Dylan, Stone Roses etc) In Peep Show they left the play at the interval. You'll be glad to know I stayed to the end in the interest of an honest fair review. 2 stars.
That was something. Reminded me at parts of Cabaret or musical theatre. I didn’t care for it. Hardly even paid attention to it. Not for me. 2, almost a 1
Musical theatre music isn’t my jam.
The first album i can’t seem to find on apple music? Interesting. Very old fashioned, beautiful sound and neat wartime story being told but i don’t see myself returning to this, and it loses points for not being on streaming (i dont use youtube premium), i know thats not about the music itself but it hurts replay-ability for me. Standout is Mothers hands for being soft and serene.
[2/5] cabaret socialismmaxxing. musical style to the songs with scary lyrics confronting the reality of war. she has a very distinctive way of singing; i struggled a lot with this, but some tracks gave me a lot of thought. can’t see weimar tunes going into my rotation. track notes: [A] 1. there are no problems your honour 2. menacing 3. trying to find something at the back of the cupboard. maypole 4. big sadness 5. destroying food but make it musical 6. sung like my mutter trying to be quiet in public 7. PERHAPS 8. spooky and scary, accusations flying 9. anti-war interlude feel 10. helped by german language 11. big regrets, no mustache for you 12. less corruption, more butchers [B] 13. joyously marching into unemployment 14. "failure in loving, failure in living" :'( 15. gloomy resignation to your new reality, no spark, no joy 16. serious lyrics with a surprise marrow! 17. wholesome song about mum 18. military song with communist celebration 19. feels like paris 20. i don't think it looked very nice 21. WAKE UP, this is about to get scarily deep 22. radio gotta keep working
Very interesting arrangements, the voice was sometimes intriguing and sometimes abrasive. I won't be coming back to this but I don't regret listening.
Like an OBC recording for a Broadway show I have no intention of seeing
Certainly not for me, and I assume something was lost in translation, but the arrangements weren't terrible.
... huh
I don’t know what this was supposed to be and I don’t care. This was terrible. I admit I skipped each song half way through.
Vat ze hell ies zies? Vaai is zies in ze list? Ze zingt niet slecht, daar kan ik weinig van zeggen, al is haar stem soms wel wat krasserig. Verder klinkt het als een slechte musical. Of een goede musical, zo groot is het verschil niet. Het werkt een beetje op de lachspieren. Ik heb wel iets van ontwikkeling meegemaakt en ik kan dankzij deze challenge veel makkelijker genieten van hele albums. M'n luistergewoontes zijn zelfs best wel veranderd. Maar ik merk dat ik af en toe nog steeds gewoon tegen m'n limieten aan loop. Er zitten nog altijd grenzen aan de breedte van mijn persoonlijke horizon. Ik probeer voorbij die grenzen te kijken, maar ik moet me af en toe gewonnen geven. Ik heb in deze lijst een aantal parels ontdekt en sommige van die ontdekkingen luister ik regelmatig, dus deze reis is zeker niet voor niks. Na 4 jaar deze lijst kan ik méér waarderen, maar niet álles dus. Dit is anderhalve ster. Ik ga er toch weer 2 sterren van maken omdat er her en der nog wel een prima liedje op staat. En liever dit dan Astrud.
I like this type of theatrical avant garde music but this didn’t grab me.
Interesting.
This was... unexpected.
Album # 202 Dagmar Krause: Tank Battles This album felt more like an academic endeavour than a leisurely one. One of the few albums I actually sat down and did research about because its existence was so confusing to me. From what I gather, this is a cover album in which Dagmar Krause performs the songs of Hanns Eisler, who was a German composer during the 30s and 40s. Essentially, the goal of the album is for a contemporary German musician to recreate the infamous cabaret sound of Nazi Germany. The album is interesting from a historical perspective, with many of the lyrics presenting a look into the perspective of German people at the time, with songs promoting socialism and denouncing the Nazi regime. I would say that the songs range from mildly enjoyable to quite good, with a few that were simply too dated, but ultimately nothing here sounds too essential. I get the inclusion as this album represents a pretty important and famous time in Western music, but perhaps the list would be better off had it just included Hanns Eisler’s original works, or even some of Dagmar Krause’s other works, which I hear are quite good. At least it was fascinating, so I can’t be too harsh on it. I think I just kinda liked it because it reminds me of the opening to Indiana Jones and the Temple of Doom, which is the greatest movie of all time. Best Songs: Chanson Allemande, Bankenlied, (I Read About) Tank Battles Worst Song: Mother Beimleim Score out of 10: 5
Its hard to rate this. Its essentially showtunes. Its not bad but its just not very mainstream. Should you listen to it before you die? I dunno, maybe? Will you like it? Probably not
C'est très très dramatique
Very strange and difficult to find intact. I don’t have anything against this, but I can’t pretend it held my attention for any reason beyond sheer novelty. Experimental German theater is one of those things I’m just never going to develop an interest in.
Not my stuff
Not as fun or musically interesting as it could be I guess.
Sometimes a local dive will be purchased by people that wear fedoras and retool the shot and beer bar into a "cabaret" with nightly music by Magic Music Mike. You're not allowed to talk during his "show." You sit there with your friends while some guy that has clearly jerked off to this album for years blathers on stage until you just leave. Some things are best left as historical oddities.
The actual album not available so can't comment on that. I listened to 'most popular ' on Spotify for the artist. If you forced me to guess what non-English language this was penned in I would have definitely said German.
sounds like show tunes. Not sure what kind of theater this would be. Germanic
This was cool and I’m glad I heard it, but I think this had a little more value to me as a history lesson on who Hanns Eisner was. The orchestration was solid and the lyrics were definitely the best part. I just don’t think I will be coming back to this. Favorite songs were The Ballad Of The Sackslingers and Song Of A German Mother.
Not my thing. Def felt the “cabaret” vibes. She has an interesting voice and the concept is unique but I will never listen to this ever again.
Isn't in Spotify, so too bad
Couldn't get the Spotify link so I'm on youtube. Being turned off by every song so far. So had to stop listening part way through.
This was weirdly hypnotic. 1920s German Cabaret songs composed by a Marxist and with lyrics translated into English... it's hard to look away. 2.5 stars rounded down.
Once again it's heavy "musical theater" vibe. The last Dagmar album we heard had a film noir feel that made it occasionally interesting (minus her voice). This one is more down-the-middle musical style (Oklahoma?) so it's even less interesting.
I refuse to believe that of the theatrical militaristic operetta available, this was the best one.
Maybe it's the German coming out, but a lot of the weird creepiness to this makes it feel like a lost Nico record. I don't even think these songs are supposed to be that creepy. The theatrical energy here either benefits the songs or totally kills them and I think the English translations ruin any effect they try to have. I don't have a problem with theater/cabaret stuff inherently but I don't know, man. "Weird" is the first word that comes to mind here.
Might be cool if you were actually involved in a tank battle while listening
A l'air important politiquement, mais musicalement c'est pas trop ça. La voix est cool et certains sons sont géniaux mais la plupart est dure à écouter
I was completely unaware of this artist and am going in completely blind. I wish I could have listened to this completely deaf. But seriously though, I respect this list for including these avant garde selections... I just don't think this is something that one needs to listen to before one dies. And it's another case where the fact that this album isn't readily available to stream is an indicator of exactly how important this album actually is. I don't hate this, but I would not call this good.
Sorry, but this album was an absolute mystery to me.
Beim ersten Versuch nach Einer Minute abgebrochen. Dann noch mal versucht. Entweder es wird wirklich besser oder ich leider unter Stockholm Syndrom. Manchmal pure Folter aber aufjedenfall interessant 2/5
Couldn't get on Spotify
This was not available on my streaming service, but I found it on Youtube. Clearly a talented musician and some beautiful songs, but not a genre that I am very interested in.
brute.
Ok, so, probably pretty musical, and the German accent is kind of a fun vibe, but this one just ain't doing it for me. No thanks, ma'am.
I surprisingly made it 10 songs in buuuuut yeah this is not for me at all
From an objective view there are some very powerful songs on here, especially if one is willing to dig further into the German lyrics. Most definitely an interesting inclusion in terms of musical style and historical context. From a subjective view, I am respectfully not built for this. Standouts: Ballade von der belebenden Wirkung des Geldes (The Song of the Invigorating Impact of Cash) • Song of a German Mother • The Trenches (Hanns Eisler)
This just wasn't for me. Didn't hate it, also didn't like it. Would have never went out of the way to search this but glad I got to listen to it. It's why I love doing this list.
Didn’t find
Es distinto, pero tampoco gran cosa.
Promising at first but the periods of silence in the middle of tracks were really annoying
2 stars only because it somewhat reminded me of Max Raabe
That was certainly something to remind me how good the average album on this list actually is.
Suena bien, parece la banda sonora de Cabaret. No está en Tidal ni Spotify, así que ha tocado oírlo por YouTube Music. No me ha interesado mucho y no sé cual sería su relevancia en el momento de publicación o porqué acabó en esta lista de álbumes.
Nah
Boring
Andy Bernard performing Sweeney Todd's opening number in Season 7, Episode 3 of The Office, entitled "Andy's Play" paired with Sally Bowles and the Emcee performing "Money Money" in the 1972 film version of Cabaret.
Brechtian showtunes, if that's your thing
1.5 if I could
Look, I enjoy a good Weimar song so this one wasn't totally inscrutable to me, but it's bizarre that this is a record and not a concert, and it's more bizarre that it's on this list. Krause's voice is perfect for these songs, channeling her inner Lotte Lenya. But this one...it makes for a real head scratcher for sure.
"Sit down, kids, Liza Minelli's got a little history lesson for us. And a-one, a-two-..." This is... a beguiling entry. But it illuminates a significant moment of the 20th century, which is a cool use of recorded music? I guess.
Bruh, maybe it would be fine but I didn’t need this today
Weird. Uncomfortable at times. Her voice is beautiful and the music is in equal parts stunning and jarring. It’s not something I’d listen to again. But I didn’t utterly hate it. 2.0/5.0 Best Song: track4/5
Very inconsistent.
Une toune ç'aurait été assez. Ça va faire l'estie de niaisage. Pour les gens qui trippent, je conseille chaleureusement du Lynda Lemay.
2 out of 5. This album, and Dagmar, has gusto in performing these songs.
When she sang "This is not good, it's not good."... I really felt that. Maybe this works in the original German, but the translation makes the lyrics pretty clunky and adds piles of campiness to listening experience. The version I listened to on YouTube had a few tracks that were in German and I preferred those to any of the English songs.
I don't know quite what to make of this really. Feels more like performance art than music. Very focused on politics and perhaps quite moving if you were to see her live. Difficult to engage with as a recording. Musically unimpressive.
Pretty weird, really unique, it feels more like a theatrical play than an album. Filled with songs full of political and social commentary about a post-nazi germany, Tank Battles is an album that, if we talk only about its concept and context, we end up with an amazingly interesting piece of art, but as much as I respect what Dagmar Krause did on this album, it just isn't a project I would re-listen to in any context. And I think that says a lot about what this record is actually trying to be. Because it never really feels like it wants you to come back. It doesn’t invite you in, and doesn’t even try to disguise its intentions, instead, it stands there, almost confrontational, delivering the music in a way that feels deliberately cold, sometimes even alienating. The more I sit with it, the more it feels like the lack of replay value isn’t a flaw, but part of the design. These songs aren’t built to live in a playlist, but instead to make a point, to interrupt, to challenge, and once that point lands, there isn’t much comfort left to return to. It's just a project that reinforces this idea that you’re not supposed to “enjoy” this in the traditional sense. So yeah, it ends up in a strange place, a record I genuinely respect, in both concept and execution, but one that exists more as an experience to have once (or maybe a few times, idk) rather than something to live with. And maybe that’s exactly what it was meant to be. Overall pretty interesting listen
This was interesting. Not bad but definitely not up my alley. Although I'm giving it the same rating as the Public Image album, this is certainly better.
Hard to find, struggled to listen through.
Maybe not quite my taste but it was enjoyable.
Boo tomato
No thanks
This was an odd album, and its probably more my lack of listening to German music. The themes were very political and historical, but it sounded like I was listening to a Danny Elfman score or maybe Pee-Wee's Big Adventure. It was very odd
Too theatrical, hard to stand.
This was such a fun listen. The whole album feels incredibly theatrical, almost like you’re sitting in some strange cabaret performance where every song is a different act. There’s a lot of character in the delivery, and it doesn’t take itself too seriously, which makes it even better. It’s funny in a very unique way too—not obvious, but more in how it’s performed and presented. The voice, the arrangements, the little dramatic moments… it all comes together like a piece of musical theatre. Not something I’d play every day, but definitely a really entertaining and memorable experience.
Nice voice, however I feel like the songs themselves didn't pique my interest
I have an unreasonable, visceral aversion against this album, and the style in general. Just when I thought some of it was tolerable, Mother Beimlein came along. Some songs are excellent if you own a village circus and need something for when the clown comes on stage. I'll give it a 2* because this probably has historical value, and it's played and sung alright (for the genre). Does not deserve to be on the list for me (a true historical recording may do, though, if it exists?)
ну мюзикл типо + что-то про Гитлера...
Truly odd. German show / folk tunes, apparently. I suppose it's different enough that exposing folks to it is something that the 1001 thought was a good idea. That said, I don't have to like it.
Well, it's definitely a change of pace. It's an interesting callback to a whole sphere of music that has almost completely fallen out of cultural relevance, and to that extent it's at least noteworthy in that respect. But is it good? Nah, not really. Not at all. There's this reigning Marxist political theme throughout that doesn't really feel particularly inspiring or insightful. Mostly I was sitting around waiting for it to be over, which is unfortunate. I've enjoyed some of the more challenging albums in the list so far - I'm a Einstürzende Neubauten defender, to talk German - but this one completely missed. Certainly the worst thing I've listened to on the list so far (about ~150 in). But I also feel like I'm an idiot who must be missing something, so I dunno if I can give it a one. it's earnest, at least. Was kind of cool that this wasn't available on any streaming service. Let's say two points for keeping it interesting. Fav tracks: Bankenlied
This was an interesting listen! Definitely not what I was expecting but I’m not sure what I was expecting in the first place. It was almost like listening to a musical theatre album in a way? Krause had a pleasant voice and I liked all of her different vocal characteristics that she had for various characters within the political story of the album. I’m not sure if I would listen to this again but it was an interesting and enjoyable experience.
Difficult to find, rightfully so.
Could not find a consistent version.
Perhaps 1920's Berlin, but that's not my style. Very dramatic though.
These are songs written to accompany plays by Berthold Brecht. They are strident and very theatrical. I think the interpretation was probably exactly what the composer and lyricist intended. But give me Kurt Weil for Brecht. Not something I want to hear again. This one isn’t on Spotify so nothing to add to my playlist.
Not for me. I don’t have the time to deep dive this, so a 2
DNF
Not really my thing. Very theatrical. Most of the songs didn't appear to go anywhere although one or two were interesting such as The Trenches, which reminded me of Army Dreamers by Kate Bush.
Returning to this list for the first time in a bit and back with a banger /s
47/100. The record is essentially a collection of politically and socially charged songs by Hanns Eisler, performed by Krause in English. It is definitely an unusual listen, and I found it quite interesting from that perspective. That said, while I appreciate the concept and the ambition behind it, I cannot say I found it particularly good overall.
Oof I wanted to like this but found it a very tough to make it through. If I wanted to listen to German showtunes I'd turn on a dubbed version of Chicago. In all seriousness I really did not enjoy most of this. But there were a few fleeting moments of intrigue die to her voice and the composition which were relatively moving. That and I appreciate that I hadn't heard this before. Still, though, not for me overall. 2/5
Favorite track(s): Mother's Hands, The Trenches I'll respect it for pushing my boundaries. I'm not big on musical theater/cabaret to begin with, but it's made somewhat awkward on top by the translations. A few glimpses of interesting arrangement. Overall, pretty bizarre. I'll take my Dagmar with Henry Cow or Slapp Happy instead.
This is like your elderly, possibly mildly demented grossmutter decides to start singing show tunes. Whilst the voice is very good, the music is definitely not anything that I would choose to listen to and the songs, whilst witty at times, are mostly pretty rudimentary. I do find it quite amazing that someone funded this to be produced in 1988, full of songs from the 1920s, and here we are being forced (admittedly of our own volition) to listen to it nearly 40 years later. I would give this 1 star except her voice is really pretty good, shame about the rest of it.
# Album Name: Tank Battles # Artist: Dagmar Krause # Rating: 2/5 # Comments: Today i learned it was not the doors who sung alabama boy. Nice vocals. Some interesting sounds. Definitely off the beaten track. Sadly, this was way too long for me. It would have been a 3 if shorter. # Top Tunes: # Would I listen to it again? No
Never cared for cabaret (not even Brecht-affiliated) It was all the rage in the eighties it seems like.
Ok. I can appreciate something different. It's not for me though.
I’m not sure if this was for a soundtrack or what.
Interesting album this one, theatrical or what?
bizarre
Feels very operatic in its delivery, songs are a bit like chanson (or what I think chanson is) and the stories they tell seem quite dark. As far as the music goes it's not my thing and I don't actually understand this type of music. I'm not at all lyrics person and this is all stories, also the songs end quite abtruptly. Feels like this is one of those "no rating" albums, but I'll give it a 2/5 as it's not bad and for "stronk completionist gene" reasons.
German Edith Piaf from the ‘80s
Ich interessiere mich heute viel weniger für den Marxismus als in meiner Jugend.
I don't think I'm the target audience for this. Feels like "WWII on Ice" or something. Not overly bummed that I won't be re-listening to this on Spotify
Not crazy about musical theatre or most things avant garde. Appreciate the historical elements
This is an educational album giving a flavour of what German cabaret sounded like during the World Wars and inter-war periods. The English translation of several tracks will annoy purists but it helps position the songs and drive home the meaning for English speaking listeners. I don’t spend much time listening to musical theatre, what I’ve connected with has been contemporary and pop influenced, so this is a taste stretcher for me which I failed to connect with beyond taking a curious historical interest. It’s amazing to think that the gap between today and this album’s release is only slightly less than that of this album’s release and the end of World War Two. How the world has changed!
So this was unexpected. I like to think I'm doing this project to open my mind to new things and this was a winner in this regard. But I am also (and more) doing this to find new music I want to hear again. And in this regard, a miss. Great job transporting me back to 1920's Germany. Can't think when I'd ever put this on. Vocals were strong. 2/5
this is fine, I guess. It just sounds like I'm listening to a soundtrack to a musical, but I'm not too interested in the story. Probably won't listen to it again
this was a tough listen. I appreciate the idea but its not for me
Weirdo stuff. Not my thing at all. Would rather have not even listened TBH. I didn't hate it like it didn't repulse me... maybe just too high-brow for me.
Musically, it sounds like better-than-average-community-theater. I get that the lyrics are something about German nazi guilt. And that's a really important message for the world, and particularly Americans, to hear right now. But if there's music playing, my frontal cortex can't focus on the meaning of words. My attention is always pulled back into the music - the harmonies and their progression, the melodies, the instrumentation, the performances . . . It's why I don't get the adoration for Bob Dylan, Joni Mitchell, musical theater, etc.
That was… unexpected. The way that my kids looked at me when they heard what I was listening to was worth the price of admission. I will be pulling this out whenever they try to make me listen to K-pop. The album has a real cabaret kind of vibe. I don't hate it but I'm not crash hot on it either, and I'm not confident that it would reward repeated listens.
Мне кажется Гитлер бы кайфовал под это
interesting but not really my jam
Art Rock, conceptual, revisionismo de vanguardia... expresiones que significan difícil de escuchar. Este disco no es una excepción.
Well made, but not for me.
Loved the story behind the guy who composed those songs more than the songs themselves
The content of these songs is far more interesting than the packaging. Unfortunately, the packaging is extremely difficult to listen to.
Staat niet op spotify, wereldwijde ratings zijn slecht en ik zie dat het jazz is, dus ik vind het niet zo'n probleem
With all due respect what the fuck is this. Some strange campy spoken word marxist poetry (that is a bit clunky an overbearing in translation from german) across strange melodies performed by some kind of big band?? This just mainly elicits confusion, I do appreciate they tried here but I do not think it's working. The genre is not for me, the over-the-head lack of lyrical grace isn't for me. There are better socialist genres out there
German beer hall
Could not locate (and could not be arsed with youtube) found a couple of her other tracks and from reading between the lines on other reviews I doubt it would be my bag.
Tank Battles I’m sure that there is an audience for 1930s German Marxist Cabaret songs that aren’t by Kurt Weil, sung with lyrics in English by a strident German musical theatre lady, but I don’t quite think I'm it. It obviously doesn’t help that it's a YouTube listen, but even if it was easier to access I’m still not sure I’d fall in love with it. Having said that, I do admire its uniqueness, and I appreciate the artistic endeavour of showcasing a forgotten songwriter. Lyrically it is very interesting too, it makes a nice change of pace to hear songs about wheat harvests and welfare states, and something like Song of a German Mother is in fact very moving. It's also for the most part very well recorded, the tone of the horns in particular is lovely and warm, and it feels like it is genuinely evocative of what I imagine Weimar Republic cabarets sounded like. Although occasionally it does belie the time period it was recorded, with the guitar at the start of The Rat Men (although it could have been The Perhaps Song, as its hard to know ithe YT sometimes) However it boils down to a style of music I’m just not that keen on, a bit too oompah, a bit too musical theatre and it kind of puts me on edge, Bettellied in particular bothered me on that front. Happy to file this under ‘Glad I listened but it's not really my cup of gluwein’. 2. 🪖🪖 Playlist submission: Song of a German Mother
It's difficult not to associate 20s-era German music with erotic cabaret, and I'm not sure this is what Krausse is going for, notwithstanding the fact she is a handsome lady. The lyrics, often Brecht's, are more concerned with war, poverty, and hyperinflation (but then again who hasn't wanked off over seeing working men line up in black-and-white for their bread rations). Its so theatrical that it's difficult to warm to. But I can appreciate it without really liking it. That being said, the tracks regarding the tragedy of German mothers are all devastatingly observed and they have the biggest impact. For instance, 'Mother Beimleim' hits you like a Björk from the blue - a truly avant-garde piece, telling of a Mother's attempts to keep her family afloat by whoring, and going a little mad. The real power here remains in the stories being told rather than the delivery and the musical dressing. More than that, it's difficult to relate to lyrics set in the Weimar Republic about a country's slip into blind-fascism, following a deluded dictator who will surely lead them all to war. Isn't it? Well, isn't it?
I always enjoy listening to something completely new and innovative, but this really pushed my limits. I dont like concept albums and am not a fan of show tunes so i did not enjoy this. It avoids one star just for the effort that went into it.
Avant-Garde music from the circle of Brecht-Weill-Eisler is generally not for me - I just can't find anything aesthetically pleasing about it. But not all music is for everyone. And that's OK. 1.5/5
Alright, so there is more here to like than the global rating would have you think. There is diverse instrument play, and it sounds like the catchy background of an old history documentary...sorta. Then, it gets old fast, and it drags on approximately an hour. Almost like Nintendo 64 Rareware music, mixed with Nazi Music, and a woman's voice that just appears out of place throughout the entire album. Santa Claus gave me a lump of coal for Christmas. Favorite Track: "Bankenlied".
Album 999 of 1089 Tank Battles - Dagmar Krause (1988) Rating : 2 / 5 Listenable, but emotionally distant and not something I’ll return to. This one felt more like an experience than an album in the traditional sense - and for me, it was a pretty average one. The language barrier is real here. German just isn’t a language that stirs much emotion for me musically, and as a result, a lot of the tracks came across as tense or angry without much nuance breaking through. I can appreciate that this is likely intentional and meaningful to others, but it didn’t translate in a way that pulled me in. There’s nothing offensively bad here, but there also wasn’t much that made me want to lean in or revisit it. I listened, I took it in, and that was about it. This feels like one best appreciated by listeners already tuned into this style and presentation. For me, it’s one to acknowledge, set aside, and move on from.
Weimar republic meets broadway
Not really my thing. It just ended up being background music. I’m sure if you dive deeper into the album, you could talk about how complex and sophisticated it is, but for me it was just background music.
Like Ute Lemper from before, but more Nazi. What is going on with you Krauts?
Kind of interesting I guess but I'm not that into this
Felt like every song that I kind of could get into was followed by something 180 from it. Not to mention the Youtube stream was very low quality which didn’t help the listening experience.
Þetta var hræðilega pirrandi eins og Nico.
Found a YouTube playlist for this. Think it was the full album.... Well I don't think I've ever heard anything like it I suppose. Very theatrical. Some songs really work, but others really don't. I think the English tracks have been translated from German so it's almost like the lyrics are trying to be forced into the melody. It was quite interesting, I'll give it that. But I feel it's designed for the stage, not for just audio. Would never choose to listen again. 1.5
I was not ready for this. I do not know nearly enough about this genre to tell if this is a masterpiece, but both the arrangements and the lyrics seem fairly clunky. I think I would have preferred to hear this in german instead. I challenge anyone to actually enjoy "Mother Beimleim".
Expected to hate it. Didn't love it by any means, but it was at least unique and kept my attention.
Man, entries like this on this list crack me up - largely unknown, not very well received (and in the case of this website, terribly received), sort of avant-garde, and obviously just a niche favorite of the list-designer's. I enjoyed this about as much as I enjoyed another dark cabaret album on this list, the one by Ute Lemper, except this one was less directly pleasant and more over-the-top, theatric, and kind of ridiculous in almost every way. So even though I felt like I was over this the second it started (it's just not my thing), I tried my absolute best to enjoy it. There's some charm here, and some of the instrumental ideas and general sonic direction are pretty neat, but it suffers primarily from the songs being way too short, like I just don't understand the choice behind that at all. There is zero breathing room for some of the better ideas here. 'Chanson Allemande' especially pissed me off with how short it was; it was a great ballad-type song that reminded me a lot of 'Alice' era Tom Waits in a lot of ways, and then it just ends like nothing.
Not broad enough.
Why in the world is this album on the list, especially when they know they have to piece it together on YouTube. This album is lamo.
Day696 - german sounding broadway wasn’t what i expected
Not on spotify. Tough industrial noise sound
weird european stuff
Sinceramente, no tengo opinión. No he sabido en ningún momento de qué iba la cosa. Un disco excesivamente largo y en el que no me he orientado nunca.
Just wasn't in the mood for this today. Maybe another time I'd have enjoyed it more
Not sure what this even is. Bad show tunes?
WTF is this? 2*
I guess it would be more enjoyable to watch than just listen or even then listen. It was ok
What a strange album yet interesting at the very least. I was engaged the whole time even though its the opposite of what I like. Its all vocals and lyrics that I dont care much about and the backing music is sparse. I didnt love it or really even like it but I listened to the whole thing without wanting to turn it off. Sometimes I get a record where thats the truth but not here. Even though its not for me im still glad to have heard it. I won't hear it again but once was not too bad
I'll give points for the Eisler/Lang connection. I found myself drawn more towards learning about Eisler than enjoying Krause's renditions of them.
i mean i get why hanns eisler songs are worth listening to before you die (starkly anti-fascist, had to flee germany, a real blue-collar composer, etc.) but i don't know why *this* album is worth listening to before you die. this is a cool history lesson, not a great album. i reject the notion that there's some metanarrative to understand regarding this album or even music like it; i'm further unconvinced that dagmar krause's attempts at anglicizing this music are worth the effort. like, it's fine, but if you're at all familiar with 20th century german composition (i promise you're more familiar than that phrasing makes it sound; everyone is), you know what you're gonna hear. it isn't terrible at all, it just isn't as interesting as the history of the composer himself. *why* is this one here?
What a wild ride. I had a stressful day at work while listening, and I genuinely thought I was going into psychosis at some points. I saw several comments around the internet of a version of this project where all the songs were in their original German form, and I think that would have been better than what we got. As a non-German speaker, I still preferred the songs that were sung in German. Maybe I just didn’t like the lysis that I could understand very much, but it also seemed more fitting with the music. Something about the whole experience tells me that it would be awesome in a live setting. As an album and while having to move around in the real world, not so much. 2.5
I found this on YouTube Umm, I am not sure what this is exactly. Sounds like a soundtrack to a musical, spoken word poetry, a bard speaking singing about events or just the crazy lady in town running around singing and scaring the children. She was full of emotion and even when I couldn't understand her I could feel the feelings and it went well with the music. Just really not something I ever plan to listen to again.
The description says this isn't available to stream, but I found it on YouTube. The songs are a little out of order, but it's there. It's been a minute since we had an album on the lowest rated list. It was definitely unconventional, but I didn't think it was THAT bad. It was very theatrical and not something I'd listen to again, but it had interesting moments, and I appreciate the passion she sings with. It definitely went on too long though, and I got tired of it, which ended up bringing it down a star.
There's obvious musical talent here, but I doubt it will ever grace my ears again.
I couldn’t find this specific album on Spotify, so I just listened to about 15 songs by this artist….very odd. My initial thought was this is terrible but after a few songs I didn’t mind them as much
This is very different to the norm on here, I’ll give it an extra star for that. Not available on streaming services so I headed to YouTube for this one where initially I thought it was less than 30 minutes but alas, it was in 2 parts. It’s quite theatrical but evokes 1920s Berlin well. She has a good, distinctive voice, flipping from English to German, but overall this is simply not something I have enjoyed.
What in the hell was that. Not awful sounding but I feel like I watched a play in the lobby.
Hate to 'punish' the album for being hard to find but it is really difficult to appreciate when peppered with YouTube ads and I swear the tracklisting I found was far longer than the standard album. The book says this one is under 40 minutes but I swear I was waiting for it to end for well over an hour. Maybe someone had added bonus tracks, maybe it had that many ads in it or maybe it just felt like that because it was a boring and repetitive listen. Some good atmospherics in the instrumental side, I'll give it that. But her voice is rough and I just did not enjoy the theatrics at all.
Not really my jam but she has a good voice.
This isn’t the worst thing I’ve heard but really wouldn’t listen again. A bit too avant garde for me, 2.25/5. Certainly not my least favorite from the project
09/11/2025 This was not the easiest find or the easiest listen.
Gotta leave Spotify for this one. The title reminds me of playing Battle Tanx on N64 at Tyler Pinders house. Hmm... we've got 58 minutes of this eh? Is this intended as a musical? Like I feel like I should be watching actors on stage. Why can't I find more info about the story here? One critic called Tank Battles "worthy" and said that the vocals were "stunning" and instrumental "impeccable". I'm definitely stunned. One Youtube commenter said of Track 5 "this is important" Mother Beimleim is actually really sick. I would have made this the lead single. Song of a German Mother - an commenter on Youtube "These are the most ridiculous lyrics I have ever heard". But this song is heartbreaking. The vocal performance is overly dramatic and feels pushed sure - but it's the grief and guilt of a mother who realized she'll never see her son again after he joins up? "Ridiculous" is a wildly unfair criticism of these lyrics. The further I get into it the album the more I'm appreciating it. But at the same time I'm starting to get pretty fatigued by it. And a few songs later I kinda just want it to end. It's not getting worse.. it's very consistent.. too consistent haha. Just more of the same. But then I get woken up by a lyric like this on Ballad Of (Bourgeois) Welfare: "they take care of the pregnant woman when the need a class to work.." And a legitimately interesting shift into an uptempo section. "You get the soup and they get the marrow" Mothers Hands - this is beautiful and heartbreaking at it's core. It's really just the presentation I don't like. The youtube artwork for The Wise Woman and The Solider is hilarious in contrast to the music. This song is boring. Hit an very out of place ad for a Conestoga College video game design program. THE RAT MEN!!!! wtf is this sexy ass saxophone doing here??? We're kind of just re-hashing a LOT of the same themes here. Not a whole lot of development happening after a certain point. And then it ends with a minute long song written to a radio. I only searched quickly but wish I could find out more about why this album was made or any sort of story behind it. I would be more into this if it was part of a larger musical performance, but I can't say I'm into it musically as a stand-alone album. That being said.. It's easy to laugh at but I don't think it's objectively bad by any stretch of the imagination. There's a lot of beauty and tension and the arrangements are well thought out even if it's presented in a way that I typically strongly dislike (musical soundtracks). It's long and becomes tedious rather quickly. This album is like a bowl of cold Borscht - I personally don't understand how anyone could like it, it's boring, and it makes me feel like I'm hiding from the Red Army. But it serves a purpose.
Tim Burton probably like this shit. I started off thinking I was gonna hate this but honestly at times made me very curious. There’s something here. If there were less music in the world I might try harder to follow that curiousity lol. Some of the melodies/chord progressions took me off guard. Like moments of woah that was cool but then I’m brought back out. The weird theatrical vocal delivery isn’t something I gravitate toward but then again I love Kate Bush and Prefab Sprout and somehow those don’t seem completely dissimilar. I realize I actually have a couple tracks of her other project Slapp Happy saved. Some cool stuff there. BTW John Harle on sax - he served as Paul McCartney’s artistic advisor?!?! But more importantly dad to Danny L Harle (PC Music, AG Cook collaborator) which is wild loll
This was a really hard one to rate It wasn't a bad album. She had a nice voice, and it was completely fine as background noise The problem with it was that it sounded like a musical. Which is fine if it actually was a musical soundtrack. It was also way too long - and seemed longer because the songs were so short 2 ⭐️
Not available on Spotify. Gave it a listen on YouTube. So German cabaret music translated into English. Not my jam.
It doesn't surprise me that there's a Brecht-written album on the list, but it *does* surprise me that it's not that Lotte Lenya/Kurt Weill one! I'd never heard of Eisler or Krause before, and I'm still not really sure what the list compiler heard in this one. I'm just not the right person to be listening to art lieder, I suppose.
Won’t get that 25 minutes back
I only listened to 3 tracks, but I just couldn’t get into it. Maybe it’s not for me. If this is one of the “1001 Songs You Must Hear Before You Die,” then there must be thousands of other albums that deserve a spot too.
Like a rejected musical coming to haunt me
Even though I don't understand German, I think I preferred the numbers that the artist sung in her native tongue to those performed in English. Some interesting story-telling on this album, but the music is definitely not my bag, and I'd be unlikely to listen to it again.
I’d never heard of Dagmar Krause or this album before today—and it turned out to be quite a challenge to even track down! After all that effort, I was really hoping it would be worth the hunt. The best way to sum up Tank Battles is “unique.” There aren’t any traditional songs here that you’d sing along to or even tap your foot with. Instead, it’s a strange, theatrical, and often jarring collection of performances. At times, it sounds more like a dark cabaret soundtrack or a set of eccentric sketches than a conventional album—some tracks even reminded me of parody songs from The Simpsons. That said, Krause’s vocals are powerful and utterly distinctive—like a German PJ Harvey performing a wartime opera. The instrumentals are intricate and well crafted, but overall, this isn’t an album I enjoyed or would listen to again. Still, I’m glad I gave it a go—it’s unlike anything else I’ve encountered on this list, and I learned a lot about Krause and the influences behind her work. Favourite track: “Ballad of the Slackersingers.” I might even suggest my daughter’s school add it to their harvest festival playlist next year. Least favourite track: “Mother Beimlein” — short, creepy, and genuinely unsettling (like a few other songs on this album). Album artwork: I actually really like the cover—it’s striking and perfectly fits the album’s eccentric tone.
A very different kind of album for sure - definitley not a pop album by any definition. A rendition of Weimar cabaret translated to English. It's an admirable project with some great very dramatic performances. Although it's not really something I'd ever want to put on, it could be cool to see live and learn more about the music/lyrics and the context of their creation as well as the context of this rendition. Definitley sounds like a German of a certain generation grappling with what their parent's generation did.